The inspiration: “Rosemary’s Baby,” from gingham-sweet beginnings to a flesh-baring leather fate. (The film’s lullaby, sung by Mia Farrow, made for a haunting soundtrack.) There’s also some “Barry Lyndon” influence (the vivid Stanley Kubrick period drama) thrown in for good measure. (Hey, designer Joseph Altuzarra has a lot of titles on his Netflix queue.)
The vibe: From simmering sensuality…to an all-out boil.
The lust-o-meter: There are delicate gingham dresses and separates in soft pastels, with slightly torn seams tied with ribbon (and flashing hints of skin.) More revealing dresses and skirts made only of crisscrossed strips of leather, secured with grommets, mimicked Renaissance latticework...but felt very modern and full-throttle sexy. (The models wore theirs atop swimwear, but a camisole and leggings would also work.) Floral dresses (based on vintage Japanese textiles) were crinkled, beaded, washed and embroidered. Beautiful. And the final three gowns—his take on haughty eighteenth century aristocratic fare, but loose, flowing and light-as-air—are hands-down fabulous.
Hmmm…: No maternity wear? We’d hoped for one devilishly demure number, but he was no doubt wise to skip it.
Our take: Mia Farrow looks amazing on screen as Rosemary (rocking that gamine Vidal Sassoon cut, the mod shift dresses) but Altuzarra wisely skips making any overt ‘60s references. Tempting, but might wind up looking costumey. Instead, he dreams up a line that’s artful, wearable, undeniably contemporary...and just slightly sinister. Making a pact with the devil never looked so good.